SAQA Journal 2021 Vol. 31 No. 2

JOURNAL S T U D I O A R T Q U I LT A S S O C I AT E S 2021 | Volume 31, No. 2

I N S I D E : A R T I S T S P AT B U D G E & K E V I N W O M A C K • VIRTUAL EXHIBITIONS • ILLUSION OF REALITY TH ROUG H C O LO R • S UC C ESSF U L BO O K W RITI N G T I PS • I N S P I R E D • M E M B E R G A L L E RY • M U S I CA ! • J U RI E D A RTI ST S H OWCAS E • M I DW EST V I E WS

IN THIS ISSUE FEATURE ARTICLES:

Featured Artist: Pat Budge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 How to be a successful book author . . . . . . . . . . . . . . . . . . . . . . . . . 17

BOARD MEMBERS

Hone representational art with color magic. . . . . . . . . . . . . . . . . 22

Deborah Boschert

Profile: Kevin Womack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

VICE PRESIDENTS

PRESIDENT

Lewisville, Texas

Dolores Miller

COLUMNS:

San Jose, California

Editor’s Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

San Jose, California

Thoughts from the president. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Gwyned Trefethen

Inspired by determination: Sandra Bruce. . . . . . . . . . . . . . . . . . . . 39

Mel Beach

TREASURER

Cohasset, Massachusetts SECRETARY

Jayne Gaskins

GALLERIES:

Reston, Virginia

SAQA Global Exhibitions: Musica! . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Member Gallery: Along Came A .... . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Juried Artist Showcase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Regional Exhibition: Midwest Views. . . . . . . . . . . . . . . . . . . . . . . . . 34 SAQA NEWS

SAQA board appointments. . . . . . . . . . 5

Holly Brackmann Ukiah, California

Earamichia Brown McKinney, Texas

Jette Clover Lier, Belgium

Shannon Conley Moore, Oklahoma

Vivika DeNegre

Guilford, Connecticut

Carolyn Ducey

Lincoln, Nebraska

Curate a SAQA Virtual Exhibition . . . . . 14

Merion Station, Pennsylvania

In Memoriam. . . . . . . . . . 38

Chalgrove, United Kingdom

Cynthia Friedman Claire Passmore Candice Phelan

Wellington, Florida

ON THE COVER:

Jenny Knavel Lilies: Eclipse

34 x 34 inches | 2018 From Midwest Views

Sara Trail

Antioch, California

Maggie Vanderweit

Fergus, Ontario, Canada EXECUTIVE DIRECTOR

Martha Sielman

Hebron, Connecticut

QUICK NOTES

To find out more about SAQA, contact Martha Sielman, executive director, by phone at 860.530.1551, or by email at execdirector@saqa.com.

Explore varied resources on our website at www.saqa.com. Annual membership levels for U.S. and international members, listed in USD, are: Artist/Associate, $80; Juried Artist, $145; and Student, $45 (must present full-time student ID).

Studio Art Quilt Associates, Inc. (SAQA) is a nonprofit organization whose mission is to promote the art quilt. Through exhibitions, resources, publications, and membership, we seek to increase appreciation for the art quilt as a fine art medium and to support our members in their artistic and professional growth.

SAQA JOURNAL EDITOR

Diane Howell

Chandler, Arizona DESIGNER

YellowDog

Denver, Colorado

Go Green!

The SAQA Journal is published four times a year. To submit articles or story ideas, contact Diane Howell, SAQA Journal editor, at editor@saqa.com. Review submission guidelines at www.saqa.com/journal-submit.

For delivery questions, contact circulation@saqa.com.

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• SAQA Journal • 2021 | No. 2

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EDITOR’S NOTES

Maybe we all just need a spa day

by Diane Howell

representational art. Whew! Turns

The issue concludes with our

out, it takes a lot of planning to

Inspired column, which showcases an

look natural. In her article, Michaud

upbeat artwork by Sandra Bruce. It is

presents four challenges to solve,

a portrait of Yayoi Kusama, a distinc-

the first being how to make an

tive artist who is herself an inspira-

object appear pure white. What’s

tion. Read about both the quilt and

the answer? You might say that only

the artist who inspired it on page 39.

I can remember when true upheaval

The Shadow knows. Turn to page 22

in my life was a spelling change I

to see the solution.

The artwork on this page was plucked from entries to the two-page

hadn’t instigated. For quite a while, I

This issue also brings you two

Member Gallery: Along Came A … .

questioned whether to go along with

artist profiles: Pat Budge of Idaho

I had a run-in with a machine that

the trend to spell “ok” with two let-

and Kevin Womack of Virginia, on

looked just like this beast before I

ters or just continue on with “okay.”

pages 10 and 30, respectively. And in

treated it to several spa days. I hope

I’m sure you were similarly con-

addition to our usual three galleries,

the piece gives you a laugh, as it did

flicted—how could you not be?

we have added a regional exhibition,

me. How could it not? You can see

Midwest Views, which hails from

pieces selected for this theme on

my mind if I’m okay with ok. But

the Illinois & Wisconsin region. See

page 20.

I am definitely all right with this

selections from this traveling exhibi-

issue’s lineup of stories.

tion on page 34.

Truth be told, I’ve never made up

That’s all the room I have this time.

Until next issue, okay? ■

Let’s first consider Lilo Bowman’s article on how she approached the task of writing her book, Love Your Creative Space, for C&T Publishing.

Should you decide to create a tome of your own, you will want to know how Bowman met hard deadlines on the way to a successful finish. What

Lena Meszaros

Revenge of the Sewing Machine (White Dragon)

43 x 45 inches | 2018

Photo by Flavia Raddavero

was one of her first steps? She created a nurturing space in which to write.

On page 17, learn where Bowman, editor-in-chief at TheQuiltShow.com, settled in to keep her daily appointment at the keyboard.

Next, let’s foreshadow the approachable concepts found in Kestrel Michaud’s article on how to select hues to accentuate reality in

SAQA Journal • 2021 | No. 2 •

3

THOUGHTS FROM THE PRESIDENT

SAQA Trunk Show promotes art quilts in diverse settings

by Deborah Boschert

You know those tools that have sev-

SAQA gives our members many

in Maryland years ago. We sat in a

eral flip-out features that can be used

opportunities to exhibit or donate

big circle and passed around each

in all kinds of situations? They seem

artwork, but the Trunk Show is

piece, admiring all the details and

to be good for everything. SAQA’s

unique. It is different from the Ben-

reading the artist statements. Then

Trunk Show is our multitool! It is an

efit Auction, which comes around

we did an insightful exercise that

excellent project that helps us achieve

every year and is a fundraiser for

gave us experience in critique and

our mission to promote the art quilt

our organization. It’s also different

how to describe art.

in many ways.

from the Spotlight Auction, which

Trunk Shows have been exhibited

occurs as part of our annual confer-

at local libraries, shared with school

of 10 x 7-inch art quilts made

ence. And it’s different from our jur-

kids, displayed at quilt guilds, and

and donated by members that are

ied exhibitions, because we accept

included as programs for developing

mounted on a black backing board

all submissions. The Trunk Show is

artists.

and packaged in plastic sleeves. The

special because its goal is to allow

collection exhibits an enormous

many people to experience art quilts

art quilt for the next Trunk Show.

array of materials, techniques, and

in an up-close and personal way. It

We’re eager to see your work! We

styles. The submissions are divided

is an excellent tool for education

welcome all entries whether you’re

into “trunks,” and these collections

and outreach.

an award-winning, longtime artist

The trunk show is a collection

travel all over the world to various

We displayed several of the art quilts

Please consider submitting a small

or a new member just beginning to

groups. The trunks are shared, used,

from the last Trunk Show at the SAQA

explore art quilts. All techniques are

displayed, and explored in many

booth in Austin at QuiltCon in Febru-

welcome—piecing, appliqué, digital

different ways. Each Trunk Show

ary 2020. It was so fun inviting people

imagery, handwork, painting, embel-

runs for three years, and then the

into our booth to look more closely

lishment, surface design, collage, or

quilts are sold in the SAQA online

at the tiny works of art. Many visitors

any other method you use to create

store with proceeds shared between

spent time examining the details and

a piece that fits SAQA’s definition of

SAQA and the artist. (Did you have

trying to wrap their minds around the

an art quilt. That definition is “a cre-

a chance to buy one in February?)

idea that these small pieces of art could

ative visual work that is layered and

This project has been ongoing for

be called quilts. I enjoyed several inter-

stitched or that references this form

more than ten years, and we’ve just

esting conversations about the precise

of stitched layered structure.”

wrapped up another three-year cycle.

stitching, beautiful colors, and unex-

That means we have the opportunity to build another Trunk Show and your work can be included!

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• SAQA Journal • 2021 | No. 2

pected combinations of materials.

I also had the opportunity to view a Trunk Show at a regional meeting

Submissions are due September 30; they will travel through December 2024. You can find all the details at saqa.com/trunkshow. ■

SAQA NEWS

Future president, new board appointments announced

Mel Beach At its annual retreat, the SAQA Board

Claire Passmore We also welcome two new mem-

Jette Clover Subcommittee charged with look-

of Directors elected Mel Beach to

bers to our SAQA Board of Directors,

ing at ways for SAQA to collaborate

be the next board president. Her

Claire Passmore and Jette Clover.

with artists in other media, such as

term will begin in April 2022 at the

Their long involvement with the art

the upcoming collaborative exhi-

conclusion of our annual conference

quilt movement is a valuable asset to

bition with the National Basketry

in St. Petersburg, Florida; she will

SAQA, and we are fortunate to have

Organization.

succeed current president Deborah

them serve SAQA in this capacity.

Boschert. Mel will serve as co-vice

Jette Clover

president alongside Dolores Miller

Claire Passmore

Lier, Belgium

until next year’s conference ceremony.

Chalgrove, United Kingdom

Jette is an art quilt and mixed media

Claire is a British artist whose

artist who draws much of her inspira-

and is a member of the Special

stitched textiles are exhibited

tion from a love of writing.

Events and Education commit-

internationally. In addition, she has

She was born and raised in Copen-

tees. She is the organizer for SAQA

numerous pieces held in private and

hagen, Denmark, but for many years

Summit in San Diego, which is now

corporate collections.

lived and worked in the United

Mel lives in San Jose, California,

planned for September 2022. She

Throughout her life, Claire has

has recently joined the Education

been a professional teacher, working

Committee and organized a Special

with young children, teens, adults,

Interest Group based on profes-

and young refugees. She teaches a

textile gallery in Los Angeles, being a

sional development, social media,

variety of art quilting techniques, and

curator at the Dutch Textile Museum

and building a successful website.

in 2019 was invited to be a presenter

for more than ten years, and organiz-

She also has just taken on the role of

and tutor at the 5th International

ing the first European Art Quilts exhi-

chair for a study group charged with

Quilt Symposium in Shaoxing, China.

bition in 1997. She realized she missed

making recommendations to the

She is a founding member of the

making her own artwork, and in 1998

board about future virtual confer-

bilingual art textile group Six Dames

ence events.

as well as a number of other groups

Mel brings thoughtful, dedicated leadership to the board in addition to her enthusiastic love for art quilts.

States and the Netherlands. Since 2005, she has lived in Belgium.

Her background includes opening a

became a full-time studio artist.

Jette has exhibited and taught in

and organizations. In 2017, Claire

the United States, Europe, and Aus-

became a SAQA Juried Artist member.

tralia. She has been a SAQA member

Claire has joined the Exhibition

since 1998, and served as the Europe

We are excited for her role in SAQA’s

Committee and will be the chair

& Middle East regional rep from

future growth and development.

for the Innovative/Collaboration

2005-2008. ■ SAQA Journal • 2021 | No. 2 •

5

Momentary Connections by Alice Beasley

Our Stories Bring Us Together as a Community Our creative SAQA community holds us together.

Your gifts to SAQA tell a story of how much you value this community. And we need your help to keep that narrative moving forward.

Your generosity will make an incredible difference this year because SAQA’s exhibitions are on the move again!

Our art quilts, exhibited across the globe, tell the story of an art form that is vibrant and compelling.

Please give today! www.saqa.com/story 6

• SAQA Journal • 2021 | No. 2

Gateway Canyons Presents

ALEGRE RETREAT 2021

A 2021 Change of Date!

An Annual Art Quilting Conference ~ November 14th-19th 2021 Featuring Renowned Fiber Artists:

Jacquie Gering | Jean Wells Keenan | Laura Wasilowski | Katie Pasquini Masopust

Alegre Retreat is an escape from everyday life for art quilters to come together to learn and share their expertise. Join us at Gateway Canyons to study with one teacher for five days and hear lectures from all.

The conference will feature Jacquie Gering’s class, “Composing with Line”; Jean Wells Keenan’s class, “A Sense of Place”; Laura Wasilowski’s class, “Fuse-Design-Stitch”; Katie Pasquini Masopust’s class, “Jumpstarting Your Creativity”.

To Register: 505-470-5202 or katie505@gmail.com|43200 Hwy 141|Gateway, CO More Information: www.alegreretreat.com | www.gatewaycanyons.com

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Notes from a gallerist Lucille Packard Children’s Hospital

Women’s Voices, Women’s Votes SAQA’s Ebb and Flow

128

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www.saqa.com/aqq SAQA Journal • 2021 | No. 2 •

7

Kacey Cowdery

Music of Morse

60 x 20 x 18 inches | 2018 Photo by Carl Valle

Selections from

Musica!

Pablo Picasso said, “To draw, you must close your eyes and sing.” Musica! is SAQA’s celebration of music with a visual twist.

Both music and art elicit emotions, create different moods, suggest movement, and can reflect light, depth, and color. Over time many artistic practices and processes have been shaped by sound and visual expression. The boundaries between music and art blur, as one becomes inspiration for the other.

Musica! was juried by Joe Cunningham.

The exhibition benefactor is Frank Klein.

Visit www.saqa.com/musica for details on upcoming venues.

Sue Sherman

Listen for the Music

30 x 38 inches | 2019

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• SAQA Journal • 2021 | No. 2

Marian Zielinski Midnight Jazz

34 x 34 inches | 2019

Laurie Bucher About Face

60 x 52 inches | 2018 Photo by Gloria Plascencia

Nancy Bardach Sinfonia Plus

56 x 50 inches | 2018

Suzanne Noonan

Pianoforte

43 x 37 inches | 2019

SAQA Journal • 2021 | No. 2 •

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FEATURED ARTIST

Pat Budge works at the design wall in her studio.

Pat Budge Abstract shapes ‘dance’ freely in colorful work

by Cindy Grisdela

Pat Budge began her quilting jour-

Collection. “I was quite drawn to

ney in the 1990s wanting to fill wall

the role that solid fabrics played in

space in a new home. She thought

defining edges and to the 90-degree

she’d be able to buy a large wall quilt,

angle.”

but quickly discovered that if she

style. The lime green shapes seem

it herself.

to dance across the composition,

That quilt never got made, but

81 x 81 inches | 2017

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• SAQA Journal • 2021 | No. 2

anchored by darker values. Hard lines

Budge learned to sew and decided that

are softened by curves, and the light

quilting was more interesting than

areas create a sense of depth.

the other crafts she had dabbled in:

Willow (Chance Panel Project)

Her piece Willow typifies Budge’s

wanted one, she would have to make

Budge pieces her compositions on

weaving, cross stitch, needlepoint,

a Janome 6500 sewing machine and

and crochet. “I like to keep my hands

quilts them on a Janome Continen-

moving and I like the feel of materials

tal M7. She is a full-time artist, and

in my hands. So assembling fabric into

spends her days working in her stu-

wall quilts satisfies those two things.”

dio, a two-story addition to her home

Budge’s work is inspired by geo-

in the mountains of Idaho. The main

metric shapes, hard edges, and a

floor houses her sewing machines,

contemporary alphabet system

her 30-foot design wall, cutting area,

developed by French painter Auguste

and fabric storage. It looks out over

Herbin, who was active in the early

the mountain landscape, and some-

20th century. When she first began

times wildlife wanders by as she

quilting, her mom gave her a book

works. The lower floor has storage

on Amish quilts from the Esprit Quilt

space, plus three sets of sawhorses to

Reconciliation (Chance Panel Project)

Last Rites (Chance Panel Project)

80 x 78 inches | 2018

82 x 80 inches | 2016

hold the oversized wooden panels she

and new arrangements she wants to

where planned chance informs the

uses to baste and trim her creations.

try. For 2019, her theme was breaking

arrangements of the panels.” She used

She shares her creative workspace

trust; in 2020 it was aloneness, even

geometric images that were chopped

with her husband, a fly fisherman,

before she knew the pandemic would

up and rearranged, plus stylized let-

who makes fly rods.

create that very state of being.

ters and straight- and curved-edge

This work area is a considerable

“I don’t wait for a muse to show

repetitive units.

upgrade from her first space in the

up, or for some inspiration to get me

Reconciliation is an example of a

laundry room, where she sewed

going each morning.” She finds that

Chance Panel work, and combines

standing up and her counter doubled

working leads to more work, and says

large purple and gray shapes with

as the surface to fold clothes. Budge

that she thinks best when her hands

smaller, more colorful straight-edged

says she enjoys being able to spread

are busy. That is why she shows up

elements. “I think of this work as not

out and do different tasks without

every morning and begins. She works

only a collage of different imageries,

having to put something away first.

all day and sometimes for a few hours

but a collage of, or mash-up, of my

Budge manages her workflow

in the evening, creating compositions

memories,” Budge says. “I remember

methodically. She decides on an

during the day when she feels at her

the shapes and colors of landscapes,

annual theme, along with how

best, and either quilting or work-

conversations with friends and fam-

many pieces she wants to make, the

ing on more mundane tasks at other

ily, song titles and lyrics, book titles,

color palettes she wants to explore,

times.

and anything else that enters my

and the imagery she wants to

Most of Budge’s recent work falls

consciousness. The finished pieces

include. Those decisions are made

into two main series that involve cre-

represent my merged memories in a

by January 1 each year. Throughout

ating small components and building

geometric manner.”

the year, she thinks about and keeps

them into larger units. The Chance

Another example is Last Rites. This

notes on what works in her composi-

Panel Project comprises twelve large

large quilt measures nearly 82 inches

tions, changes she wants to make,

quilts, each “composed of panels

square and was juried into Quilt SAQA Journal • 2021 | No. 2 •

11

Be Like a Stranger (Grids series) 69 x 66 inches | 2020

Confluence (Grids series) 70 x 39 inches | 2019

National 2017. Soft pastel shapes with

components and scraps from previous

more I’ve relied on chance, the more

curved and straight edges combine

work. Budge likes the idea of giving

intentional my work has become.”

with the rectilinear units of the

new life to these units. This series is

Budge uses commercial solid fabrics

middle panel created in a palette of

ongoing, with ten pieces created in

in her quilts, and having a wide range

red, gold, black, and green. Lighter

each of the last two years.

of color choices is important in her

values give depth to both sections.

Another Grids quilt, Confluence,

The second series is called Grids,

work. “The modern quilt movement

employs a color palette of brown,

was a blessing, because the number of

and is made up of small repetitive

gold, red, and gray. In this example,

solid fabric lines really exploded.” She

units. “The grids are separated by

there are fewer large areas of color

uses Aurifil 50-weight cotton thread

various forms, informed by chance

and a staccato feeling comes through

for piecing and quilting. “Over time,

for color choice and placement, with

in the small geometric elements.

I’ve bought the whole color line,

an eye toward visual and structural movement within the piece.”

In both series, Budge uses what she

because I blend thread color with the

calls planned chance games as an

color of the individual fabrics being

improvisational tool to make deci-

quilted.” She often quilts in straight

series. Although the piece makes

sions about color and element place-

lines to add texture and dimension

use of yardage, it also includes

ment. “The strange thing is that the

without competing with the design.

Be Like a Stranger is from the Grids

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• SAQA Journal • 2021 | No. 2

Pat Budge stands with her piece, My Merry Men, at the opening of Color Improvisations 2 at Museum Tuch + Technik in Neumünster, Germany.

Budge regularly shares her work through exhibitions. Her pieces have been in Quilt National six

for me to share work is to first have work available.”

Budge’s advice to art quilters starting

times, including the 2021 iteration.

their own quilting journey is to “set up

Her work has also been exhibited in

a studio practice and make consistent

Art Quilt Elements, Quilts=Art=Quilts,

progress a priority.” She also encour-

Form Not Function, and Color

ages a focus on skill in composition

Improvisations 2, curated by Nancy

and design, in addition to learning new

Crow. This last exhibition included

techniques. “Developing work that is

Budge’s My Merry Men; it opened

authentic to me as an artist took me

in Europe in 2016 and traveled to

years [to accomplish], and I know no

various North American venues into

way of short circuiting that process.” ■

2020.

Despite this exhibition schedule,

Cindy Grisdela is a SAQA Juried Artist

Budge rarely makes work specifically

who resides in Reston, Virginia. You can

for a call for entry. “The best strategy

view her work at www.cindygrisdela.com.

SAQA Journal • 2021 | No. 2 •

13

Virtual Gallery program expands exhibition, curator opportunities

by Vivien Zepf

SAQA’s standalone Virtual Gallery program is a round-the-clock art experience designed exclusively for online viewers. With its popularity already proven, this series of themed exhibitions helps promote the art quilt as a fine-art medium to the general public.

The first exhibition, No Limits, was coordinated by the Virtual Gallery committee and debuted last year with our new website. The exhibition was designed to demonstrate the variety of works that can comprise this format. Going forward, this visual experience will be predominantly developed, juried, and curated by a SAQA member or team, aptly called volunteer curators, who submit applications to create their own exhibitions.

Wendy Hill Configurations, from No Limits

3 x 14 x 14 inches | 2019 Photo by Gary Alvis

SAQA member Susan Else, who helped bring the Virtual Gallery program to life, says: “Although SAQA’s Exhibition Committee is extremely responsive to member preferences and desires, it is an organizationto-member system. In other words, the committee creates exhibits that they think our members will want to enter. In the Volunteer Curator program, members themselves create the exhibits that they want to see.”

The first volunteer coordinator was Katherine Wilson, who developed Waiting, which she describes as a common situation in our daily lives. During 2020, the Covid-19

Linda Steele Firelight, from Impressions of Oceania From Around the World 25 x 38 inches | 2015

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• SAQA Journal • 2021 | No. 2

pandemic and other international crises gave new insight into her theme, and some of the accepted art quilts reflected the tense

Mary Lou Alexander Ice Age, from On the Edge 49 x 30 x 4 inches | 2020 Photo by Joseph Rudinec

Regina V. Benson Corporate Transparency, from Room with a View 34 x 25 inches | 2016 Photo by John Bonath

atmosphere. Wilson’s juror’s state-

Attinger, who curated Plurality of

ment says: “As I had hoped, several

Voices, a showcase of work from

submissions addressed some of the

their region, Europe & Middle East.

large global and national issues

On the Edge was juried by Petra

of the day, like the pandemic in

Fallaux.

Unprecedented and Waiting to Fly,

To become a Volunteer Curator,

immigration in Mother of Exiles,

previous curating experience is not

American citizenship in Waiting

required. The first step is to submit

for…, climate change in The Colours

an application that describes your

of Nature, and world peace in

idea, why you believe it will appeal

Wouldn’t it be Nice.”

to the broader SAQA community,

Several other volunteer curators have already created exhibitions,

and why you are well-suited to curate that particular theme.

including: Dr. Sandra Sider, who

Before an application is presented

curated Room with a View; Judith

to the Virtual Gallery committee for

Martin, Daren Pitts Redman, and

consideration, the Volunteer Coor-

Susan Lenz, who formed a team to

dinator team works with applicants

curate Land Art; Australians Jenni-

to ensure their application fully

fer Bowker, Sue Dennis, and Susan

articulates their curatorial vision

de Vanny, who curated Impressions

and the appeal of their theme,

of Oceania From Around the World;

which becomes the basis of the call

and Claire Passmore and Geneviève

for entry.

Judith Content Wrack Line (After the Storm), from Land Art: From the Forest to Your Balcony

9 x 2.5 feet | 2020

SAQA Journal • 2021 | No. 2 •

15

Katherine Wilson shares curator experience Katherine Wilson, the first volunteer curator in the Virtual Gallery program, had always thought about curating or judging an art quilt exhibition.

“When the opportunity to volunteer for a virtual SAQA gallery exhibition first appeared, I responded immediately! I have entered juried competitions for years, and wanted to experience ‘the other side,’ if you will.”

For her, the most interesting aspect of curating was creating the theme. “It was important that the theme be generic enough to apply to everyone and also generate a diverse artistic response.

Globally, we were going through a period where waiting was not only more impactful, but normalcy and our realities had changed. I felt the theme would provide a much-needed outlet for SAQA members to address what we all were experiencing.”

The theme was definitely clear to entrants. Wilson says she got exactly what she wanted and anticipated from those who submitted entries. “I believe SAQA members look for, and enjoy, the different opportunities the organization offers for creative expression. I know that is an aspect that appeals to me,” she says. “When you think about the enormous creativity among SAQA members, it was important for me to create a theme that would engage their imagination. I looked at my own journey and my reaction to calls for entries that I personally perceived as too limiting. As a curator, I wanted to generate and motivate a diverse response where unique voices and creativity had full reign.”

She advises others who want to curate a virtual exhibition to apply. “Try it! The theme and selection of art are totally yours, but you do not have to oversee every detail of the event. SAQA is your partner and takes care of the oversight and logistics. This experience helps you grow. I can honestly say that I better understand the difficulties curators and jurors face when they have a tremendous response and limited numbers of entries they can select.”

As curator, Wilson also picked up tips for entering a SAQA exhibition. She says she can emphasize how important composition and descriptive words are. Also, “craftmanship is critical, and photos matter.”

The basic role of volunteer curators

exhibition on a frequent basis. Sarah

is to develop an exhibition concept or

Entsminger, who co-chairs the SAQA

theme; create an enticing call for entry;

Global Exhibition and the Virtual

answer questions from members; build

Gallery committees, points out that

a compelling exhibit from the chosen

the Virtual Gallery program is perfect

images and statements submitted; and

for showing work that is too fragile

write a curator’s statement. Develop-

to ship or otherwise not suited to

ment of a virtual exhibition frees

global exhibition venues.

curators from such brick-and-mortar

Lena Meszaros Heritage, from Plurality of Voices 48 x 33 inches | 2020

been described as creating a single

ing design. They craft a visual narrative

work of art from many individual

that comes to life as one image flows

components. The Volunteer Cura-

smoothly into the next.

tor program provides a professional

The online exhibitions can be

development opportunity while it

global or regional in scope. Global

empowers members to create their

exhibitions have themes with broad

own artistic expression. To learn more

appeal to our worldwide membership.

about becoming a volunteer curator,

Regional exhibitions have to limit

visit www.saqa.com/virtual gallery. To

entries to a particular area. Plurality of

learn how to enter work into a Virtual

Voices covers a breadth of nationalities

Gallery, visit www.saqa.com/calls. ■

and cultures, and the viewpoints from this region are illuminating to those outside the region.

Due to the nature of an online gallery, SAQA can host a new

16

• SAQA Journal • 2021 | No. 2

Curating an exhibition has often

issues as available wall space or light-

Vivien Zepf, a writer, photographer, quilter and museum docent, is co-chairman of the Virtual Gallery committee.

PROFESSIONAL DEVELOPMENT

Successful writing requires keeping your eye on the finish line

by Lilo Bowman It’s been said that writing a book, like

contact list to important due dates,

running a marathon, is gratifying,

formatting, pattern-writing tips,

but tests your ability to hang in there

photo releases, image logs, con-

until you reach the finish line.

tent checklists, and a host of other

Your race—your book project—as an author begins with an idea. In

information.

Speaking of due dates, one of the

my case, my concept was based on a

first discussions I had with the pub-

yearlong blog project I produced on

lisher concerned the book release date.

quilt studio organization. In 2018, an

The release date determines the timing

offer from C&T Publishing to write

for all other important milestones in

Love Your Creative Space stopped me in

the book’s life: sample chapter, first

my tracks. Would I be up to the task?

draft, second draft, final draft, and

Could I maintain the pace? Would I

final package. It is a selection that

be able to clear my busy calendar of

should not be taken lightly. Selection

anything and everything that might

of this date is also a financial deci-

keep me from the project? Would

sion—if you don’t deliver on time,

my family understand that this book

there can be monetary headaches.

would be a priority? The answer to all

I had to plan to write the book off-

of my questions was yes! I told myself

the-clock from my day job as editor-

I could do it if I wanted it badly

in-chief/production manager for

enough—even if it meant dragging

TheQuiltShow.com. I suggest that you

myself out of bed before the crack of

look ahead on your calendar for the

Lilo Bowman’s book, Love Your Creative Space, shares tips, tricks, ideas, and visual images to help others find a solution to keep their ‘stuff’ under control and accessible.

dawn to pound the keyboard.

next two years to make an informed

Photo by C&T Publishing

Real commitment Once I said yes to C&T Publishing, the

decision on when you will be able to meet the publisher’s due dates.

seriousness of our relationship quickly

Writing process

became evident. A behemoth docu-

I’m a planner by nature, so my first

ment titled Author Guidelines arrived

inclination was to research how suc-

in my inbox a few days later. A friend

cessful writers maintain their pace

who is an experienced C&T author sug-

over the long haul. I found three sug-

gested that I pour myself a glass of wine

gestions mentioned again and again.

before I dove into the details. I much

The overarching idea from various

prefer paper to a screen, so I printed

authors is to write at the same time,

out the document and dove in one

in the same dedicated place (without

afternoon, armed with a highlighter,

distractions), every single day, with-

sticky note flags, and a glass of wine.

out fail, including weekends. Begin

I can’t stress enough how valu-

each day by simply writing something

able this guideline came to be. As

down. What comes out in the begin-

the months unfolded, I found all of

ning is truly terrible. Keep writing;

Lilo Bowman

the resources to be handy, from the

don’t stop. It is this act of continually

Photo by David Fitzgerald

SAQA Journal • 2021 | No. 2 •

17

The desk in Lilo Bowman’s office became her designated writing spot.

Photo by David Fitzgerald

Sticky notes provided a visual checklist as Lilo Bowman completed her book project.

writing that slowly engages the brain,

ungodly hour of 5 a.m. gave me three

reworking, backing up and saving

and soon, like a marathon runner,

solid hours of writing time before my

everything was a must! No one wants

you fall into a rhythm, and the words

usual workday. Waking up that early

to waste precious time rewriting an

begin to flow. Repeating this process

was definitely not easy nor fun, but

entire chapter, or ten, due to unfore-

at the same time of day and place

after a month, it became less difficult.

seen document loss.

becomes a habit. You are training

Early on, I tried writing at the kitchen

the brain to know when it is “writing

table, but found I was too distracted

extensively early on (images, com-

time.” Day, time, and place became

watching critter activities in the yard.

pleted chapters, release forms, etc.),

my mantra.

Some days you will find that the

I found that my place to write

I’m a folder girl, which I used

but I also took advantage of a spread-

needed to be at my desk in my home

sheet program to organize specifics

writing is fantastic; other days, not

office. Quiet and unfamiliar classi-

that came into play later in produc-

so much. The idea is to just keep at

cal Italian lute music offered a calm

tion (image log, image captions, prod-

it. Pretty soon ideas begin to formu-

atmosphere, while sticky notes on

uct titles, index, references, etc.).

late, sentences become paragraphs,

the wall in front of the desk pro-

and paragraphs become chapters. My

vided visual reminders. Artist Libby

the way? Absolutely! There were

method was to knock out the easiest

Lehman once mentioned the joy of

things that I would do differently

chapters first rather than work from

pulling sticky notes off a to-do list

now, such as getting product titles

the front to the back of the book. I

wall. I can attest to that same sense of

listed correctly on the front end,

saved the more complex sections for

satisfaction as I watched the alarming

rather than using a shorthand name.

when I was in a real writing groove.

number of notes slowly dissipate over

I also would have used the publisher’s

the weeks and months.

number coding system for all of my

With a day job to work around, freeing up as much time on the

Were there lessons learned along

selected images from the get-go. But

calendar as possible was paramount.

Catalog everything

Weekends especially offered many

The structured information the

more hours for writing. All personal

publishing house provided, which

projects and big family gatherings at

lived in a binder with reference tabs,

The resulting book

my place were shifted, and my usu-

helped me to corral the vast number

While the vision of the book and its

ally neat and clean house became a

of documents, kept me aware of due

contents are my work, it would not

bit less orderly. As a morning per-

dates, and avoided the frustration of

have been as effective without the

son, I found that waking up at the

having to rework areas. Speaking of

generosity of numerous artists who

18

• SAQA Journal • 2021 | No. 2

on a whole, the system I used worked well for me.

generously shared images of their

I was asked recently,

studios and companies that sent either

“What is your favor-

products to photograph or provided

ite part of the book?”

requested images. The C&T produc-

The short answer is

tion team was very open and asked for

the entire book! But,

my input along the way. They sought

if I had to select an

my preferences on colors, style, and

area that has me most

layout ideas. Hundreds of books have

excited, it would be the

come across my desk over the years,

chapter titled Adapting

as an editor and former event planner.

for Greater Accessibility.

This has offered me the opportunity to

Physical changes, due

view color combinations, trends, and

to accident, stroke, or

layout styles. I must have taken these

diminishing eyesight,

factors to heart, as the color palette

don’t necessarily mean

I wanted was primarily a saturated

your days of creativity have come to

It was hard, and did require seemingly

and fairly tight combination of red,

a screeching halt. There are work-

endless hours, but was it worth it?

orange, turquoise, yellow-green, and

arounds that can be implemented

blue against a white background.

into any studio situation. Will you

Keeping the selected colors within a

be able to work at the same level as

specific group provided consistency

before? Maybe not. But wouldn’t you,

tion manager at TheQuiltShow.com. By

throughout the book. Using the same

like Matisse and Freddie Moran, want

turns, she has been a floral designer,

colors for the layout created the conti-

to enjoy the fun of creating well into

translator, tour guide, wedding planner,

nuity I wanted to offer the reader.

your later years?

and now a book author.

A white background and bold colors throughout the book create continuity for the reader.

I am immensely proud of this book.

Absolutely! ■ Lilo Bowman is editor-in-chief/produc-

SAQA CALL FOR ENTRIES Share your artwork with the world!

VIRTUAL GALLERY CALL FOR ENTRY: September

CALL FOR ENTRY: November

CALL FOR ENTRY: January

1-30, 2021

1-31, 2021

Words Fail CALL FOR ENTRY: July

Legacies

1-31, 2021

CALL FOR ENTRY: September

1-30, 2021

1-31, 2022

For complete details on all exhibitions, visit www.saqa.com/calls SAQA Journal • 2021 | No. 2 •

19

MEMBER GALLERY

Along Came A ...

Elizabeth Altomonte Gettysburg

32 x 66 inches | 2020

Laurel Ostapowich Along Came A Camel 21 x 18.25 inches | 2020

Claire Passmore Who Are You Looking At? III 28 x 41 inches | 2011

20

• SAQA Journal • 2021 | No. 2

Kim Laffont Albatross

21.5 x 27 inches | 2020

Mary Louise Gerek Come Into My Parlor

12 x 12 inches | 2014

Iina Alho Felicity

21.5 x 18 inches | 2020

SAQA Journal • 2021 | No. 2 •

21

ART TALK

Create illusion of reality with color choice

by Kestrel Michaud

To make objects look “real” using fabric requires three things: an understanding of how light interacts with objects in the world around us; an intimate familiarity with using fabric as a medium; and the knowledge of how to successfully recreate the effect.

Over the course of my career, I have repeatedly had to figure out how to work within my own artistic boundaries to achieve desired effects. In this article, I will explain how to recreate four effects that will lend authenticity to your work. Some of my examples include both color and grayscale versions of an artwork to better show the use of hue and value range.

All of my examples are made from fabrics that I found in my stash or purchased at a shop and prepared for fused appliqué. The fabrics were simply cut into the required shapes, fused together, and sometimes sewn.

Challenge #1 Make Pure White How to do it: Make an object look pure white by using blue shadows.

The reason this works is due to an

Figure 1 Clockwise, details from: Bald Eagles Great Egret 2018 Classy Leap of Faith

22

• SAQA Journal • 2021 | No. 2

optical illusion. Our brains perceive shadows cast by objects as blue due to the absence of warm light. It works because light from the sun is warm in color. Objects cast shadows that are colored complementary to the

Figure 2 Includes artwork and details of: Rose 52 x 26 inches | 2018 color of the light illuminating them.

fabric. The egret (top right) looks like

distort the light between us and any

Therefore, objects in warm, gold

a pure white bird, even though all of

given object. This isn’t noticeable

light—such as sunlight—cast cool,

its shadow details are blue. The cat

when standing right next to that

bluish shadows. This visual effect is

(bottom left), on the other hand, is

object, but as we get further away,

most pronounced when the sunlight

definitely a grey cat. Despite having

that object gets more and more bluish

is very warm, such as during a sunset,

white fabric highlights, its shadows

and hazy. This natural phenomenon

and the ground is very pale, such as

are gray, not blue. Lastly, the pale

can be simulated effectively in our art

when fresh snow has fallen.

stripes on the girl’s pants (bottom

with a careful selection of fabric.

This optical illusion also affects

right) look beige because they have

Objects close to the viewer will

shadow detail on an object. This is

beige shadows, unlike the white shirt

have the most vivid color and

why using blue fabric in the shadow

under her vest that has blue shadows.

definition. Use fabrics with bold pat-

detail of a white object makes that

terns—as that detail is also visible up

use any other color of fabric in the

Challenge #2 Create Atmospheric Perspective

shadow detail, such as gray or beige,

How to do it: Simulate atmospheric

Look at Figure 2. The full quilt, titled

our brains would interpret the object

perspective by transitioning distant

Rose, is on the left. In the center,

itself as a different color.

objects to fabrics bluer in hue and

Rose, her metal dog, and the ship she

lighter in value.

is standing on are all made from very

object look pure white. If we were to

Look at Figure 1. The eagle (top

close—and a full range of value, from bright white to the deepest darks.

Atmospheric perspective is an

rich, bold fabrics that have promi-

snow, which looks white despite the

illusion of depth. Dust and vapor

nent patterns, because they are the

snow being made primarily from blue

particles in the air scatter, bend, and

closest to the viewer.

left) is flying over a pristine hill of

SAQA Journal • 2021 | No. 2 •

23

To make objects appear a little further away from the viewer, choose fabrics with a very subtle, if any, pattern—the Grunge line by BasicGrey for Moda Fabrics works well—and a limited range of values. These fabrics should be neither as light nor as dark as the fabrics used for objects that are close to the viewer.

Now look at Figure 2, top right.

This is a detail view of the airship behind Rose. It’s made from Grunge fabrics, so the patterns aren’t as bold as those on Rose or the dog. It’s also much lighter in value. Even the areas in shadow are lighter compared to those on Rose and the dog.

To make objects seem very far away, use only solid fabrics—no patterns at all—that are light blue.

These objects should have very little detail, as they are just too far away to be seen clearly. Now look at Figure 2, bottom right. This airship is made from a single piece of solid,

Figure 3 Includes detail of: American Kestrel

light blue fabric, making it seem very far away.

Another technique to try is to cover objects in the distance with layers of light blue tulle. Look at Figure 3, top. The brown hills and dark green trees marked by the red and yellow asterisks were made using the same fabrics. However, the hill and trees under the red asterisk are unobscured, whereas the hill and trees marked by the yellow asterisk are under a layer of light blue tulle. Figure 3, bottom, shows a close-up for comparison.

Challenge #3 Simulating Direct Sunlight How to do it: Simulate direct sunlight with three techniques. Maintain a

Figure 4 Includes detail of: Snoozy

24

• SAQA Journal • 2021 | No. 2

very large value difference between highlights and shadows, make crisp

cast shadows, and/or give objects a

dog’s paw onto the bottom dog’s

that you can more easily see the dif-

core shadow.

side (blue asterisk). The shadow is so

ference in values. The picture on the

On bright, sunny days, objects in

crisp that the individual toenails can

right is the same quilt, in full-color,

the sunlight have bright highlights,

be seen. These two techniques make

and without the asterisks.

dark shadows, and cast crisp, clean

these dogs look like they are sleeping

shadows on the ground. Bright

in a spotlight.

highlights and dark shadows mean

A third technique we can use to

The core shadow on Link’s nose is the clearest to see; there’s a very distinct line of shadow running down

lots of contrast. Technically speak-

simulate direct lighting is to create

the center of his nose. However, I

ing, we should use fabrics that range

a core shadow. A core shadow is the

also created core shadows on Link’s

from very light in value to very dark

dark band visible where light and

tunic and bow. Look how the dark-

in value, effectively spanning the

shadow meet. It is the darkest area

est shadows of his tunic are in the

full spectrum.

of the shadow, because it is the least

center of his chest, sometimes even

affected by reflected light. Core shad-

touching the highlight. The same

bulldogs have a very large amount of

ows only occur when the environ-

is true of the bow, with the dark-

contrast in the browns. The high-

ment’s light is very bright, such as in

est area of shadow in the center,

lights are a light, yellow-gold (yellow

direct sunlight.

touching the highlight. These core

Look at Figure 4. The sleeping

asterisk) while the darks are almost

Look at Figure 5. On the left, I’ve

shadows make Link look like he’s in

black (red asterisk). In addition, look

marked four core shadows with aster-

very strong light coming from the

at the shadow cast by the second

isks on a grayscale version of Link so

right. That light is also hitting an

Figure 5 Includes detail of: Link (created as unofficial fan art) SAQA Journal • 2021 | No. 2 •

25

object off to the left and bouncing back onto him, which is why the darkest shadows are in the center of his body and items.

Challenge #4 Simulating Overcast Lighting How to do it: Simulate an overcast day by having very little difference in value between highlights and shadows.

During overcast days, sunlight is obscured by clouds. Instead of getting lots of contrast like we would on sunny days, there’s very little contrast between highlights and shadows on overcast days. In addition, shadows cast on the ground will be fuzzy and indistinct, not at all like the sharp, crisp shadows present in bright light.

Technically speaking, our dark shadows can stay dark, but the highlights should not be all that light.

Shadows are an absence of light, so they will continue to be dark even if the light changes. Highlights, on the other hand, get brighter as the light gets brighter. On overcast days, highlights will not reach the brightest end of the value spectrum, and that should be kept in mind when choosing fabrics.

Look at Figure 6. It’s a cloudy day in Central Park. The trees are made from five values of green, marked by numbers 1, the lightest, through 5, the darkest. The darkest green in the deep shadowy areas is almost black, but the lightest green is not that much lighter. There are no bright highlights anywhere. Furthermore,

Figure 6 Includes detail of: Central Park Skyline

the shadows under the benches and along the shore, marked by asterisks, are very close in value to the rest of the sidewalk, making them see “Color Choice” on page 36

26

• SAQA Journal • 2020 | No. 4

SAQA Trunk Shows Call for Entries Packed with artistic energy, SAQA’s traveling trunk shows showcase our members’ talent as they support our mission to promote the art quilt. Audiences at varied locations around the world explore the nature of art quilts through these small works best viewed up close.

All SAQA members may participate by creating a 10 x 7-inch art quilt with finished edges. Each piece will be mounted on a black 12 x 9-inch backing board and sealed inside a clear envelope.

Watch the SAQA website for new guidelines to submit 3D pieces!

Take this opportunity to share your artwork!

Submission deadline: September 30

More details at: www.saqa.com/trunkshow

SAQA 2021 BENEFIT AUCTION Can’t hardly wait? Our premier fundraising event is just around the corner!

From September 10-October 3, bid for your favorite pieces to support SAQA’s programs.

Your winning bids help promote art quilts and the artists who make them—and you acquire great art!

Event details: www.saqa.com/auction

Bev Haring Sun Spot

Cathy Kleeman

Fantastical Elephant Ear

Pamela Morris

Sailing Away

SAQA Journal • 2020 | No. 4 •

27

JURIED ARTIST SHOWCASE

Juried Artist Showcase is a gallery of work produced by artists who have each been named a Juried Artist of SAQA. A Juried Artist has successfully presented a portfolio to the Juried Artist Review Panel.

This portfolio includes a selected body of work and documentation showing a professional approach to art.

Marianne R. Williamson Japanese Water Garden 42 x 53 inches | 2020 Photo by Gregory Case

28

• SAQA Journal • 2021 | No. 2

Sylvia Weir Rock Wall 20 x 30 inches | 2019

Ann Johnston The Contact: Arc Plumes 25 x 73 inches | 2018 Photo by Aaron Jacobson

Judith Quinn Garnett

Correspondence with Hope 48 x 48 inches | 2020 Photo by Sam Garnett

Jill Kerttula Ginkgo 54 x 39 inches | 2019

SAQA Journal • 2021 | No. 2 •

29

Kevin Womack Positive outlook creates artistic opportunities

by ZJ Humbach

Kevin Womack’s outlook on life has

top,” he says. “We hung borrowed

earning his Bachelor of Arts degree in

come to define his art. Regardless of

quilting frames in the basement and

computer science at James Madison

the situation, he looks for the good.

layered the backing, batting, and

University in Harrisonburg, Virginia,

No matter how dismal, mundane,

top. We used chalk tied with string

he almost changed his major to art.

or disturbing the setting, he looks

to mark a Baptist Fan quilting pat-

Instead, he took as many elective art

beyond it to find beauty.

tern as we sewed.”

classes as possible, primarily in pho-

Perhaps it goes back to his teenage

Once they finished that quilt,

tography, metals, and jewelry.

years. Womack lost his mother when

Womack decided to cut up some

he was 15 years old. “I learned how

old family clothing and make the

coming to the forefront. Most of

quickly our loved ones could be gone

same pattern for his first quilt,

my training was on mainframes.”

and grew closer to my grandmother.

which included fabrics of all types

He went to work for a direct mail

I didn’t want her knowledge to be

and weights. His grandmother

company where he performed many

gone when she passed, so I asked her

taught him to use her old Morse

different jobs, including operat-

to teach me her skills and our family

sewing machine and to sew 5/8-

ing laser printers, printing presses,

history. We spent most weekends

inch seams—a big departure from

folding equipment, sealing and

together, and she taught me candle-

a quilter’s 1/4-inch standard seam

stamping machines, mail inser-

wicking, cross stitching, and sewing.

allowance. “Needless to say, my

tion machines, and more, as well

While not a quilter, she did help me

seams didn’t match up, and there

as information technology. After

with my first quilting project when I

were a few puckers in that quilt.

almost seventeen years, the own-

was 22.”

The night we finished it, I declared

ers sold the company and Womack

I would never make another quilt,”

found himself out of a job.

Womack’s grandmother inherited

“Personal computers were just

a quilt top that his great-grand-

says Womack. “I went to bed and

mother pieced using family clothing

dreamed of the fabrics and memories

tunity to try to make it as an artist.

and a wonky diagonal half-rectangle

that were held within the family

“I worked at a local quilt shop to sup-

pattern. “My grandmother had

clothing and woke up, excited to

plement my income for seven years

helped at the quilting frames when

start my next quilt!”

until the shop closed. I also quilted

she was a child and knew how to set them up, so we decided to quilt the

30

• SAQA Journal • 2021 | No. 2

Womack’s love for learning and art continued in college. While

It was then that he saw an oppor-

for others on my domestic machine during this time. Additionally, I had

Bed 108 x 108 inches | 2018 Photo by Eleanor McCain Part of the Swaddling to Shroud series Made in collaboration with Eleanor McCain

learned how to dye my own fabrics and was hooked on the process.”

Womack once again looked for the good in his situation. He had been teaching classes for the shop and teaching and lecturing on the road, so he concentrated on traveling and

when Covid-19 hit. This [pandemic]

Forest, Virginia, as his studio, but the

teaching. “I now consider ‘traveling

is almost as scary as changing jobs.

official sewing studio is a 10 x 11-foot

educator’ as my official job title.”

There was a risk the first time. Now,

room. There are two 4 x 8-foot insula-

I’m more confident, but the uncer-

tion panels for a design wall, along

hand-dyed items to sell. “As much as

tainty of how long this will last is

with his fabric stash, book storage,

I want to keep all of my fabrics

difficult.” Typically, he rolled with

a Koala sewing machine cabinet, a

Womack also began producing

to use myself, I would need multiple lifetimes to accomplish this, so I decided to start selling them,” recalls Womack.

And, since people also need

“

fashions, Womack sells dyeprinted/dye-painted T-shirts and silk scarves. “I usually

I want to tell my story in a way that makes sense to me. I like to explore uncomfortable topics or overlooked objects to reveal their inner beauty.

”

concentrate on T-shirts, since they are my best sellers, and I can typically print both sides of 20

the punches to pay the bills. “I’m

cutting table, and a huge ironing

shirts in a day if I push myself.”

even redesigning websites on a con-

board. “What makes it special is the

tract basis.”

possibility for creation. I have my

Womack’s travel schedule has been

Like many of us, Womack was

fabrics stored in the open, sorted by

was just starting to do more national

sequestered at home. He considers

color, so I am constantly surrounded

work and traveling to the West coast

his entire 1,000-square-foot home in

by inspiration.”

greatly reduced since early 2020. “I

SAQA Journal • 2021 | No. 2 •

31

Womack’s main machine for piecing and quilting is a Baby Lock Quilter’s Choice Professional, a straight-stitch industrial machine with a large harp for easier machine quilting. “I have an old Bernina 1530 for when I need zig-zag or specialty stitching,” says Womack. He also has his grandmother’s Morse sewing machine, his only machine up until about 1999.

Part of Womack’s dye studio is in his unfinished basement. “Dye chemicals and tools are stored there, and I have a 4 x 8-foot work table for mixing. When printing, I use a 4 x 8-foot tile board as a monoprint surface and set it up outside,” explains Womack.

“Since my dye studio is mostly outside, very little dye or print work goes on from November to April. I have

Tempest 54 x 53 inches | 2018

to maximize my dye time during the warmer months.”

Even being a full-time artist, Womack has to find time to create art. “There is a ton of unseen work that takes me away from my time for making. Under normal circumstances, I have to write contracts and lesson plans, make and photograph class samples, keep on top of fabric special orders, plus plan for traveling. Now, there’s even more as I’m learning the ins and outs of Zoom and converting my lesson plans to internet presentations.”

Womack uses a variety of techniques, including dyeing, screen printing, soy wax, fabric paints, mark making, and photo manipulation to create his fabrics, which he uses exclusively in his quilts. “I’m endlessly entertained by exploring new color combinations while dyeing and printing fabrics. I have even been known to dye a 25-step pro-

Vines (for Ellsworth)

58 x 42 inches | 2018

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• SAQA Journal • 2021 | No. 2

gression between two colors, light to dark, for fun.”

He also unapologetically still makes traditional quilts. “Color and pattern continue to intrigue me, and traditional patterns are a natural fit for my continued study of color,” explains Womack. “Although I have learned many embellishment techniques, I rarely add them to my work. I tend to focus on adding visual interest to a piece through composition and color.”

While Womack’s quilts often feature traditional piecing, they have a modern feel, as he gravitates toward abstraction. Bed (page 31), which features pieced hexagons, is a perfect example of this.

“I want to tell my story in a way that makes sense to me. I like to explore uncomfortable topics or overlooked objects to reveal their inner beauty. I really enjoy exploring the relationship between hard imag-

Network

30 x 34 inches | 2005

ery and the ultimate idea of comfort, the quilt,” says Womack. “I often use abstraction to express non-representational things like emotions, feelings, and ideas. When I am printing fabric, I can play with expressing these topics while I print.”

Womack’s favorite quilt is Tempest, which tells a deeply personal and emotional story. “When making the main fabrics for Tempest, I poured my emotions into the process, which was somewhat cathartic. I think the emotions translated very well into the prints. I started with the large pieces of the main fabric and added others from my printed stash to reinforce the theme I had in mind, as well as the color story. I was weathering a time of sadness and anger, my own storm at sea.”

Womack tends to work in series, but does not focus on one series at a time. He is currently shifting see “Kevin Womack” on page 37

Kevin Womack screen printing in his dye studio.

Photo by Patty Hawkins

SAQA Journal • 2021 | No. 2 •

33

SAQA REGIONAL EXHIBITION

Selections from

Midwest Views Midwest Views highlights the extreme contrasts of lifestyles, opinions, and natural beauty captured within the boundaries of Illinois and Wisconsin—no small task given that the vast expanse covered by these two states exceeds 100,000 square miles.

The locations of inhabitants are varied, from remote rural areas to densely populated cities. Glacier trails littered with huge boulders disappear into rumbling cities, followed by tumbling flat farmland filled with corn and cattle. A friendly rivalry exists between the two states, pitting the “flatlanders” of Illinois against the “cheese heads” of Wisconsin, but our love of art and freedom of expression brings us together.

Kim Frisk Fly Over

24 x 24 inches | 2020

Midwest Views gathers the inspiration of twentynine SAQA fiber artists who reside within the Illinois & Wisconsin region, and features insights into their lives. Subjects range from vistas of lush landscapes to political pondering about whether the lights should be on or off at Wrigley Field.

This 42-piece exhibition was curated by Colleen Ansbaugh and Pat Bishop, who are also the area’s regional reps.

Upcoming exhibition venues include: World Quilt New England Springfield, Massachusetts August 12-14, 2021 Pennsylvania National Quilt Extravaganza Oaks, Pennsylvania September 16-19, 2021 The Quilt & Sewing Fest of New Jersey Edison, New Jersey November 17-20, 2021 New Visions Gallery Marshfield, Wisconsin October 22, 2022-January 6, 2023 Note: Live events are subject to change and/or cancellation due to Covid-19 restrictions or other unforeseen circumstances; please contact venues before attending.

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• SAQA Journal • 2021 | No. 2

Jody Larson Purkinje

39 x 36 inches | 2020

Lorna Millen Sunflower Girl

44 x 44 inches | 2020

Janet Hiller

Regardless of Prediction 61 x 42 inches | 2019

Al Krueger

Wrigley Field 1981 37 x 45 inches | 2020

SAQA Journal • 2021 | No. 2 •

35

Color Choice from page 26

seem soft and indistinct despite having a crisp physical edge, since the shadow is a different piece of fabric.

Conclusion All of these practical approaches will help you create the illusion of reality in your representational scenes and portraits.

But here’s one final tip to ensure success in your new role as a fabric magician. When working with very light fabrics, back them with either interfacing or a layer of plain muslin.

This double layer prevents underlying material from showing through the lighter fabrics. ■ Kestrel Michaud is a SAQA member who resides in West Melbourne, Florida.

You can view her work and read about her classes at www.kestrelmichaud.com.

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Kevin Womack from page 33

between four different series as the mood or an idea strikes. One special series is New Orleans, a place that he visits annually and photographs.

“Many of the homes in New Orleans have courtyards surrounded by spiked iron fences. You have to look beyond the fence to see the beauty of the courtyard.”

Vines (for Ellsworth) (page 32) is one quilt in the New Orleans series. “In January, you see the leafless dormant vines tangling over the balconies.

I was drawn to the sharp lines and imagery when I photographed one such balcony,” Womack says. “I was inspired by Ellsworth Kelly, an artist who cut his pencil drawings into squares and rearranged them. Sometimes I have to take an art cloth and cut it up to see what it can be.”

Network (page 33) is another quilt that came to life by cutting up an art cloth. “After cutting a piece of shibori, the squares still retained the feel of the patterning. I inserted strips to add color and sashing, and then bobbin quilted it with a gold metallic thread.”

Womack is not a fan of creating work that must fit a specific theme or size for a show. “I make what I’m drawn to make. I want to tell my story with my work and what I’m making doesn’t always fit a pre-selected theme,” says Womack. “I tend to make larger pieces that have more visual impact. The size is usually determined by how much fabric I have or the size of my design wall. … I love to let the piece evolve and tell me what it wants to be. Ideas and themes can materialize while I work.” ■ ZJ Humbach is a freelance writer, quilting and sewing teacher, and professional longarm quilter. She owns and operates Dream Stitcher Quilt Studio in Thornton, Colorado.

SAQA Journal • 2021 | No. 2 •

37

In Memoriam Surface Design Association

SAQA members Sally Ann Beckman and Shirley MacGregor passed away early this year. We extend our deepest condolences to their friends and families.

Innovation in Fiber, Art, and Design

Join Our Community!

Membership Includes: • Exhibition opportunities • Access to grants & awards • Connection to regional groups • Virtual events, panels and talks • Complete digital journal archive

www.surfacedesign.org

Alisa Banks, half, 2014

expressing life’s journeys POSTPONED spirituality

joy healing inspiration peace GRIEF

Dew Descending by Ginnie Hebert

UNTIL 2022

CALL FOR ENTRIES: October 1, 2021-January 10, 2022 2022 EXHIBIT: July 14-24, 2022, in Herndon, VA Our travel exhibits include: Sacred Threads 2019 Travel Exhibit, Eye Contact: Creating a Connection, Backyard Escape: Healing Quilts SPONSORED BY:

www.sacredthreadsquilts.com 38

• SAQA Journal • 2021 | No. 2

Sally Ann Beckman Sally was born in Burlington, Iowa, on January 9, 1956, and passed away on April 17, 2021. She attended elementary and high school in Burlington, graduating in 1974. She earned a Bachelor of Science degree in Nursing from Saint Mary’s College in South Bend, Indiana, and later completed a Master of Science degree in Nursing at Indiana University-Purdue. Her generous nature guided her to a career as a psychiatric nurse. In Iowa City, she held many positions at the University of Iowa Hospitals & Clinics and at Mercy Iowa City, ranging from case manager to psychiatric triage nurse.

Sally had a deep appreciation for the arts and was talented in many handcrafts.

She also traveled extensively and was always excited to share plans for her next adventure.

Shirley MacGregor Shirley passed away on February 8, 2021, at her winter home in Florida from amyotrophic lateral sclerosis (ALS), often called Lou Gehrig’s Disease.

She was an avid traveler, lived in interesting places, rode her bicycle like a 30-year-old, and had a special voice as a quilter and author. Her book titles included Quilting With Manhole Covers—A Treasure Trove of Unique Designs from the Streets of Japan, and Quilting in the Morning Calm: Floral Delights from Ancient Korea.

We will miss both of these creative and vital members.

INSPIRED BY

Determination Sandra Bruce

Yayoi

50 x 30 inches | 2019

by N.K. Quan

S

andra Bruce’s Yayoi is a tribute to the distinguished artist Yayoi Kusama.

Bruce was inspired by Kusama’s ability to overcome life hurdles—from child abuse, professional thievery, and mental illness—to find success as a worldrenowned sculptor, installation artist, painter, and performance artist.

This piece was created as a submission for A Better World, a traveling exhibition of 40 art quilts designed to inspire and educate viewers about heroes—both anonymous and renowned—who better our world. The exhibition was curated by Lyric Montgomery Kinard and Susan Brubaker Knapp.

“I think what struck me most about Yayoi Kusama was that, even at 92, and with her history of life troubles, she continues to work as an artist every day, walking from the mental facility she has lived in for 40 years to her studio to make art. I have a family member who has struggled with mental illness, so this aspect of her life hit home.”

The quilt features a prominent portrait of the artist, complete with her trademark red hair and beloved polka dots, and includes a sampling of the

forms, shapes, and colors that form her style.

Burdened with mental illness as a child, Kusama dealt with her pain by creating art inspired by her hallucinations.

“The shapes featured in the quilt come from her sculpture that has tendril-like shapes. I find them fascinating, and thought they would make a good graphic addition to the piece.

I gravitate to portraits for the challenge and difficulty. It is the eyes that I love doing the most, and which best express personality.” Despite the fact that her subject was wearing sunglasses, Bruce captured Yayoi’s penetrating eyes by creating them with fabric paint instead of pieced fabric.

Bruce worked in commercial illustration and lettering for the advertising industry in San Francisco. “Ten years ago, with the world of advertising changing, I bought a longarm quilting machine with a 14-foot-long table and

basically taught myself how to use it and how to do free-motion quilting. I don’t use patterns or a computer-generated system to execute my quilting.

It is all guided by me. I like to say freemotion quilting is like illustration, just with a different tool.”

Her drawing and lettering skills are seen in many of her quilts, including Yayoi.

Bruce lives and works in Grass Valley, California. ■ N.K. Quan is a Phoenix-based writer and editor.

SAQA Journal • 2021 | No. 2 •

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